Consciousness, Theatre, Literature and the Arts 2011
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The essays collected in this volume were initially presented at the Fourth International Conference on Consciousness, Theatre, Literature and the Arts, held at the University of Lincoln, May 28–30, 2011. The conference was organised on the basis of the success of its predecessors in 2005, 2007 and 2009, and on the basis of the success of the Rodopi book series Consciousness, Literature and the Arts, which has to date seen thirty volumes in print, with another twelve in press or in the process of being written. The 2011 conference and the book series highlight the continuing growth of interest within the interdisciplinary field of consciousness studies, and in the distinct disciplines of theatre studies, literary studies, film studies, fine arts and music in the relationship between the object of these disciplines and human consciousness. Fifty-five delegates from twenty-eight countries across the world attended the May 2011 conference in Lincoln; their range of disciplines and approaches is reflected well in this book.
the VedƗnta is not a philosophy in the current sense of the world, but only as it is used in the phrase Philosophia Perennis…. Modern philosophies are closed systems, employing the method of dialectics, and taking for granted that the opposites are mutually exclusive. In modern philosophy things are either so or not so; in eternal philosophy this depends on our point of view. Metaphysics16 is not a system but a consistent doctrine; it is not merely concerned with conditioned and quantitative
Representation and Mind. Cambridge, MA: MIT Press. —. 2008. Life is the Way the Animal is in the World: A Talk with Alva Noë. In The Third Culture: http://www.edge.org/3rd_culture/noe08/noe08_index.html. —. 2010. Authors@Google: Alva Noë [YouTube broadcast] 2009 [cited 08 July 2010]. Available from http://www.youtube.com/watch?v=af3Vq-C1ck8. —. 2009. Out of Our Heads. New York: Hill & Wang. Noë, Alva, and J. Kevin O'Regan. 2002. On the Brain-Basis of Visual Consciousness: A Sensorimotor Account.
body and its consciousness were to be the protagonists of the work. The conscious body became the idea itself, whereas ordinarily, according to Pane, it is ‘nothing more than a transmitter of ideas’. From this stance it was possible to ‘enter other spaces, such as from art to life, where the body is no longer a representation but rather a transformation’ (Miglietti 2003, 28). We tried to sit at the cross roads between our inner self and outer self, blurring and unhinging the duality between
to include the audience and they had to work hard to stay true to the work and the experience. The performers quickly had to overcome any preoccupations with what the audience might be thinking and/or responding to. The performers spoke of an interesting battle between being authentic and everything coming from consciousness, and stepping outside of oneself in order to see self or the scene from the audience’s perspective. They had to quash thoughts concerning third person opinions on levels of
some tenuous conclusions from these plays without, to begin with, bringing the facilitators into play, we see that in these months, between January and April, the children had got beyond the need for immediate trauma therapy. The longer skits showed the limitations of the Cathartic process and evidenced their desire to engage with themes that the middle class thinks as its sole preserve: the romance story took the theme of premarital sex, apart from saying that society uses a different gaze while